The Leftovers: "Pilot"Review

Advance Review: HBO's The Leftovers casts a gripping, morbid spell. Think of it as a unique entry in the "post-apocalyptic" genre. It's a dystopian future, but with all the amenities intact. It's the human psyche that's taken a beating, not the planet. Numbness, nihilism, anxiety, rage, violence, and mystery all play out on a canvass that resembles our exact world. But it's a world that, on both large and small scales, can't deal with unexplained loss.

Hailing from Lost co-creator Damon Lindelof and author Tom Perrotta (who wrote the book that's being adapted here), it probably goes without saying that the "unexplained" takes center stage. And people's various reactions, both relatable and cryptic, remain the overall focus. Those looking for hard answers will not only miss the point, but miss the beauty. Because I'm readily assuming that we'll never get a concrete explanation regarding the 140 million people (all ages, races, creeds) that upped and vanished into thin air on a seemingly random October 14th, sending the globe into a swirling haze of questions and proclamations.

In fact, this pilot episode makes it a point to check in, every so often, with the running debate between science and religion - shown here as debating talking heads on cable news shows and televised congressional hearings. Just voices in the background. White noise almost. While the citizenry - or the small town of Mapleton in the case of the show - is charged with simply going about their lives with no hope of closure whatsoever. Science can't explain the unprecedented event and religion can't justify a "rapture" given the cross-section of those who disappeared.

Justin Theroux in The Leftovers.

Focusing solely on Mapleton, considering the world-wide ramifications, may seem like a microcosmal simplification, but it works. This crucible of the soul lends itself to being more of a homespun tale. And with those who would be naturally left out of bigger picture politics and posturing. As if they're meant to fend for themselves with regards to handling and compartmentalizing such an enigmatic grief.

Adding to the crapshoot element of the malaise-slash-chaos is the fact that not everyone lost out equally. Some didn't lose anyone close while others were robbed of their entire family. And sprinkling a perverse amount of salt in everyone's wounds is the emergence of a crazy, passive-aggressive cult called the Guilty Remnants - who have taken a vow of silence. And smoking. Yes, they all quietly stare at you while puffing on cigarettes. With members assigned to "watching" very specific people in town.

Justin Theroux (Mulholland Drive, Wanderlust) stars as Mapleton police chief Kevin Garvey, a deeply troubled man who seems to be the only one to recognize (perhaps due to his own issues) that the Remnants are dangerous. Not because of what they might do necessarily, but because of the feelings they ignite and incite in other people. I won't go into too many of the other characters since their ultimate reveal, and connection to each other, is meant to be a surprise, but suffice it to say, Garvey's family has been more or less obliterated by the October 14th event. Which, as we follow the story, is now three years in the past.

Peter Berg (Friday Night Lights), who also claims a small role on the show, directs this pilot episode with a sense of poetic dread. Tense, existential moments of fear and abandonment punctuated with occasional lightning bolts of sharp, surprising violence. And as we follow intense high schooler Jill (Margaret Qualley), perpetually harassed Meg (Liv Tyler), mysterious healer/guru Wayne (Paterson Joseph), college dropout Tom (Chris Zylka), devastated Nora (Carrie Coon), and Remnant cultist Laurie (Amy Brenneman), we're shown a fascinating spectrum of all the ways an existential crisis can play out (Christopher Eccleston also appears very briefly in the pilot, setting up a bigger role later). And how, without a healthy dose of certainty - be it from religion or science - humanity, over time, will crumble as a communal animal.

The Verdict

The Leftovers won't give out answers, but it also takes no prisoners. And as usual, the unknown here works to be more unsettling and terrifying than any hard truths. As does watching a group of people feel so lost while at home. Perhaps forever fated to never know if their lost loved ones are the victims or if they are. Several efforts are made throughout the episode by people to re-connect with family members who've detached themselves from their former lives, but it's never exactly portrayed as a noble effort, if you can imagine that. Those who still yearn to connect to others feel the most desperate and adrift while the stoic and apathetic almost feel enlightened.

This is not carefree TV. And just because there are puzzles buried within it, and it comes from Damon Lindelof, does not mean it's going to be a home run for Lost fans. It's heavy, and almost wonderfully cathartic in its closed-off nature. It's a good pain.

And yes, I was very happy to actually hear James Blake's "Retrograde" (which was used in the first full trailer for the show) in the episode. As much I was to see that the trailer contained scenes solely from this first installment. Meaning, the future's now a true mystery.